Amongst idol groups, scandals in K-pop have rarely had a lasting impact on the success of those on the receiving end. Members have bitterly left, got caught up in accidents, said something controversial, but in nearly all cases, these are forgotten or pushed to the side to allow the group or artist to continue their career. T-ara is one of the rare cases. The departure of Hwayoung and its aftermath have had lasting effects on the success and popularity of T-ara.

Before this scandal they were on their way to become one of the top three most popular girl groups with the massive hits of Roly Poly and Lovey Dovey, selling 4 and 3.7 million copies respectively. However, sales of their singles have been dropping ever since, with Sexy Love selling one million, Number 9 600,000, and Sugar Free 120,000.

To turn around their fortunes, T-ara had to get creative with their marketing. Sales and views in a foreign market for Number 9 gave them a unique opportunity. Not only was this market willing to help T-ara, it was also one of the biggest in the world, China. K-Pop has had a link with China for a while now, especially through SM’s use of Chinese idols. These idols were picked specifically to appeal to China, including having sub-units like Super Junior-M.

However, this approach has been mostly exclusive to SM, and while it has been successful, it has never had a huge crossover hit. There has never been great success over there like in Japan, where Kara in particular became household names. T-ara however, have begun to attack this market in order to make up for their losses in Korea, and their unprecedented success poses new possibilities that SM artists have not yet encountered.

The popularity seemed to come out of nowhere. All the singles leading up to Number 9 did not light up the Chinese public’s imagination any more than all the other K-Pop groups. For seemingly no obvious reason, Number 9 has gone on to be the most watched video on China’s version of Youtube, Yinyuetai. It has 116 million views, one million more than the number two spot, which is Psy’s worldwide hit Gangnam Style, and over 50 million more than the number three. At the time of Number 9’s release, T-ara had seven of the top ten videos in the Yinyuetai Korean music real time chart with this song at the top.

What sort of effect will this have on T-ara’s career and the Korean music industry as a whole? For T-ara, they continue pursuing success over there as they have just released their first Chinese single, a Korean remake of a comedy viral hit Little Apple. The success of a group with no obvious connections to China offers up some possible effects on the industry that could cause big changes, similar to Kara in Japan. Now any group can aspire to make it big in the most populated country in the world.

K-Pop’s previous move into the Japanese market and Hollywood’s recent collaborations with China show us some possible directions K-Pop might follow in its own journey to China. For a long time now, K-Pop groups and artists have been attempting to break into the Japanese market in order to tap into the biggest music market in the world. Kara were one of the early success stories as they became as famous in Japan as they were in Korea. They did this by playing to Japanese tastes with cute concepts and J-Pop style electro music. Kara’s success led other groups into this new market.

The usual formula was for a Korean group to become somewhat popular in Korea before releasing Japanese versions of their most popular songs there. It worked well for some like Kara, Girls’ Generation, and 2pm, but many were forgotten quickly before eventually giving up on Japan. In recent times, sales have been dropping for all Korean releases in Japan and most groups have given up on the market entirely. This leaves a hole in the Korean industry which loses a lot of money and coverage for its groups. However, it is a hole that China could fill.

Entering this market will likely not be the same as Japan, of course. It’s a different culture, so it requires different attention. China’s lack of cultural diversity and output means there is no obvious aesthetic to latch onto. While Japan is also a fairly closed off society it has a discernible global image for foreigners to use if they want to break into that market. However, China lacks this image, so groups must find alternative ways of appealing to the public. If we take Number 9 as an example of something that can succeed, then all we’re left with is generic EDM inspired pop. There’s no discernible element of that song that makes it a good test for what the Chinese audience wants.

Hollywood’s activity with China might show what could happen if K-Pop pursues this country. In recent years, Hollywood blockbusters like Transformers 4 and Pacific Rim have started using China as a location more and more. Some films like Iron Man 3 have different cuts that are shown in said country, which featured Chinese actress Fan Bingbing. This is because China is the fastest growing cinema market in the world, and Hollywood is exploiting this by appealing to the Chinese masses with recognizable locations and actors.

So in the future, will we see China-centric K-Pop? Will there be collaborations between IU and female Chinese soloist Jolin Tsai? Or will there be just Chinese versions of K-Pop songs and a push in performances and promotion over there?

If we take T-ara as the potential leaders of a Korean movement into China then it seems it will most likely be a mix of both. Ever since their growing success there, they have made many more appearances in China and are holding large concerts. They have also made a video in China for their single Do You Know Me? However, their new release of Little Apple is an example of direct collaboration with a Chinese artist, The Chopstick Brothers, which they will be used as a marketing ploy.

If T-ara does continue promoting in China, they could replicate Kara’s success in Japan and usher in a flood of K-pop groups attempting to break that market just like them. Like in Hollywood, this could cause companies to focus on appealing to Chinese wallets rather than the artistic qualities of the song, essentially making money the most prominent style. Whether K-Pop uses its own tried and tested method or more in line with Hollywood’s, China is going to have a big effect on the industry thanks to T-ara. Who could have predicted one member leaving a popular girl group could have subsequently caused such an impact?

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SM Entertainment is polished. JYP Entertainment is relaxed. YG Entertainment is different. Or, at least, that’s what several songs from YG have been telling fans of the Korean entertainment agency.

WINNER’s Different and Hi Suhyun’s I’m Different were both released in 2014, when the Korean entertainment industry has been reeling from multiple scandals relating to YG and SM (JYP has been relatively untouched in 2014). The songs, or at least their titles, appear to be an anthem for YG.

The company has not made headlines for the normal abuses of the Korean entertainment industry. While SM has struggled with contract disputes, YG artists have not sued the company. Instead, they’ve been involved in drug scandals. Drugs are taboo in South Korea, but rather than completely destroying the company’s image (Korean netizens do heavily criticize for this,) it instead sets YG apart from other Korean entertainment agencies.

I’m different
I’m special
Don’t compare me

— Hi Suhyun’s ‘I’m Different’

It makes YG seem a bit more dangerous, a bit more foreign, a bit more different. Everything that it does as of late, is different. It has become a trendsetter that has surpassed SM Entertainment, the longtime leader of the industry, in many ways.

If SM is the old, stalwart company of the Korean entertainment industry–with idol groups that were sure to do well, actors that were very clean cut, singers who were talented but not exactly unique as they promoted dance songs and ballads, all who are in fashion but perhaps not the people who are pushing fashion to its limit– YG Entertainment is the new company that’s different in all of those regards; the antithesis of the old, typical K-Pop model.

YG Entertainment from the start was different– hip-hop reigned ever since the company’s first acts. Jinusean and 1TYM, were hip-hop acts with R&B influences. BIGBANG and 2NE1, the company’s next popular acts, took this hip-hop style and applied it to a more typical, idol model- dance songs, ballads, but infused with hip-hop. As both groups became more and more popular, their styles have become very distinct in an industry where it is hard to stand out. Epik High and Psy, two imports to YG from other companies, also brought the type of music that is atypical in K-Pop.

With the newest crop of YG Entertainment artists (AKMU, WINNER, iKON, Lee Hi) YG Entertainment diversified, going into new types of music that are popular in Korea, but not typical idol music. AKMU’s folksy, WINNER is artistic, iKON is supposed to be hip-hop (so YG’s origins), and Lee Hi sings jazz-influenced songs.

Add to that that YG Entertainment produces most of its music in house and you have a very different, unique entertainment agency in Korea, where most company’s outsource.

But it’s not their music alone that has led YG Entertainment’s artists to stand out– it’s their fashion, their attitudes, their personalities. At a certain point, an attitude of being better, being different, a sort of swag even, became the very thing that made YG known as YG Family. The company is freer with its artists, allowing them more chances to be artistically involved in what music they produce and how they live their lives.

Different is good, and YG’s done a great job promoting its artists as something different from the norm in K-Pop. But it’s also dangerous– Park Bom of 2NE1 was involved in a drug smuggling scandal because medicine she was prescribed in the United States is illegal in Korea; G-Dragon of BIGBANG has been involved in several minor drug rumors; iKON came off too strongly at a BIGBANG concert in Japan even though YG Entertainment’s confidence is usually a key selling point of its new groups.

I’m just different
I’m just different
Don’t expect kindness
I’m Angel and Demon
Misunderstanding can be harmful

— Winner’s ‘Different’

Many Korean entertainers come under fire during different points of the career, sometimes for big things and sometimes for silly little things. YG Entertainment’s artists have faced all sort of problems, but they also, as of late, have gained a reputation as troublemakers.

The term iljin, or “bully” has been connectedtoseveral of YG Entertainment’s younger artists; whether the new crew actually bullied people in high school or not, the phrase has been tossed around enough that it’s stuck, likely because of the company’s hip-hop background. Netizens in Korea freely discuss the iljin trainees that YG Entertainment will promote in upcoming years. That, along with the “druggie” label that Park Bom and G-Dragon have gained from their scandals, has seriously hurt the company’s image.

But despite the image issue, YG Entertainment’s never done better. The company has continuously produced hit after hit. Even the differences that are seen as being negative (i.e., such dramatic, illicit scandals), aren’t able to counteract the fact that the music from YG Entertainment is great.

Both WINNER and Hi Suhyun sing about being different in a relationship. Even though the lyrics don’t apply full heartedly to the brand, YG Entertainment has proved in 2014 that it’s different and those differences are what will get the company ahead of the game.

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In 2012, VIXX were just one of a multitude of new groups in Korea. The amount of group debuts that year was approximately double from 2011. Competition for attention and sales was fierce. Some groups had the backing of a big company, like EXO, and others used strange gimmicks, such as AOA’s half angel concept. However, most were forgotten as they had little marketing coming from a small company (Phantom, Skarf), were too generic to stand out (Tahiti) or were just not good enough (Two X). So how did a group from a relatively smaller company at the time, with a low-key debut end up with eight music show wins and upcoming solo concerts in Chicago and New York?

The answer to that is theme. Or rather VIXX’s use of themes in their songs. Most groups take a concept with each new release, like a sexy, aegyo, hip-hop or dark, and use it as their visual scheme. But very rarely does it influence the rest of their song. VIXX on the other hand, starting with On and On took a theme and expressed it in every aspect of their release. The music, lyrics, costumes, choreography, and delivery are all tied to one theme. This offers a thoroughly satisfying and cohesive song whereas we are used to snippets of a concept.

What they did was to take a dark fantasy concept and built upon themes based on this niche. This helped them first of all to stand out from the crowd of boy groups doing powerful concepts like Beast or hip-hop concepts like Big Bang, but it was the clarity of their themes which raised them above in terms of quality.

Starting with On and On, we see the much used vampire concept. This concept does not exactly inspire great confidence as a start. However, VIXX’s execution of the concept did, as we were seeing vampires as more than just a costume. The theme started with the visual, which was instantly striking as all the members wore contact lenses for the video and their performances. This set the other worldly feeling they were looking for, and they followed through with all other aspects.

As soon as you start listening to the song it is compounded with a sample of the theme song from Phantom of the Opera which not only sets the tone but fits thematically with the lyrics. These are about a dangerous woman whom VIXX cannot stay away from. They are willing to become vampires just to be with her. This mirrors the story of the Phantom of the Opera as it also revolves around a dangerous relationship similar to On and On.

With nearly every one of the lyrics, they match the choreography along with it too. For example, Leo sings, ‘She pokes me again and runs away’ as an arm stabs through him. In one line of a performance, everything comes together: music, lyrics, visual. and choreography. This is well thought out pop music. This happens many more times in the one performance, like in the chorus when they sing the line ‘I’m on my knees and ready to get hurt,’ where all the members except Hongbin are on their knees while he mimics ripping his heart out, ready to be hurt. There is even some vampire imagery in the dance, the hands across their chest as if they are in a coffin and Leo going to bite Ken in the neck as the other members crowd around him. It is this consistency of theme which makes VIXX’s performances so satisfying to watch, but it may not be obvious all the time

On and On brought VIXX into the eye of the public and was their biggest selling single at the time. It was an obvious choice to continue with this type of concept. What we expected was a lesser version of the same thing, but what we got was so much more.

Hyde was based on the character of Dr. Jekyll and Mr. Hyde written by Robert Louis Stevenson, which is about a doctor who invented a serum that turns him into a huge hulking man. The story is associated with split personalities, and this is where VIXX takes their inspiration. The song is about a boy who said some nasty things to a girl but cannot believe he said them and begs the girl to believe that it was not the real him.

Again, the theme is fitted onto every element. The visual is one of black and white, usually split half and half between the six members. The choreography right from the start is in line with the lyrics and concept. At one point, Leo sings,

There’s no way I said those words
There’s no way I said I’d leave you

He utters these words as he looks at his hands as if it is the first time he has seen them and moves his body as if something is trying to get out.

Throughout the whole performance the duality motif is kept up. Most of the dance moves are mirrored on both sides by the two opposing colors. This means that when some of the choreography does not fit the theme that there is something still there going on to connect to. It’s utterly satisfying for a viewer and is just as much a reason for the quality of their performances as their powerful movement. The attention to detail is masterful and elevates VIXX above their contemporaries.

In contrast, G.R.8.U was a disappointing follow up to these two singles. VIXX had continued success with it, but the theme was not as well thought out. There was no real engagement with a theme to speak of at all. There was an interesting rewind effect in the video, but this did not factor into the performance in any real way. They delivered a snippet of a concept rather than a complete song.

For example, they reused a move from Hyde, where the members’ line up form a shadow like effect as they each move out a bit. In Hyde, this symbolizes VIXX’s change from the human Jekyll into the monster Hyde. InG.R.8.U, it is little more than a cool move. Also, unlike the previous two singles, the rest of the choreography does not back up any of the lyrics. This is by no means a requirement of every song, but it is somewhat disappointing considering what VIXX can achieve. If it was supposed to be a Jekyll version toHyde, it also doesn’t work as there is no sense of darkness here.

After that misstep, VIXX were back on thematic form with their preceding singles Voodoo Doll and Eternity. The theme of Voodoo Doll is obvious, but their use of a prop pin was the inspiration –before it was censored, of course. Their puppet-like dancing was perfect. On the other hand, Eternity was not as dark as the others, but stuck with a theme of time, and performed it excellently.

This leads us to today with Error, which VIXX have been promoting for the last few weeks. It feels like the culmination of their hard work as it is their highest charting single to date and comes right before their landmark concerts in the U.S.

This time VIXX are cyborgs who are trying to forget a past love. Hongbin laments:

I was afraid that I’d get cut by your sharp, knife-like words
I just need to breathe and eat to endure through this

It is almost as if he wished they were actual cyborgs because it would make everything much easier. The choreography of this part smartly helps this idea, as Hongbin seems to be a robot booting up and Ravi sticks his arms through Hongbin’s as if they were a robots.

Like their previous singles, the robot motif sticks throughout the rest of the song and dance. It blends seamlessly with their choreography and, thankfully, never delves into cheesy robot dances.

These are rare complete performances from VIXX, tonally and thematically, as they hit the mark on every aspect of their song while connecting them all together. This type of craft is rare in pop music, let alone just K-Pop. Themes are so important to all forms of art. How a piece engages with a theme conveys to us what that piece really wants to say.

While pop music is not expected to be a politically striking, there should still be an engagement and commitment to themes. This is what VIXX has been doing; creating pieces of music which can be enjoyed on every level and the use themes to infuse each of these.

If any of you are lucky enough to see them in Chicago or New York, try taking some time to notice this. A lot of hard work has gone into it, and it’s a big reason why VIXX are standing on that stage.

What do you think about VIXX and their use of themes? Let us know! Be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, and Tumblr to keep up with all of our posts.

Despite K-Pop being a mainstream genre within a somewhat conservative culture, there are some idols who push boundaries with their lyrics, clothes, music videos, looks, etc. So it comes expectant that even in a country that has Confucian dogma you can find some black sheep in the bunch defying other aspects of society that ultimately end up damaging individuals, like gender roles.

What are gender roles, you ask? It’s the set of behavioral norms one “must” follow depending on whether you’re male or female. You know, blue and toy trucks for boys, pink and dolls for girls –that type of thing. But the problem with binding gender roles goes far beyond pants and dresses. Trouble arises when society limits people to these set rules and don’t allow or look down on the ones who choose to flourish outside of them.

This list is exactly about that; those male idols who choose to push and bend society’s notions on gender and are successful at it.

1. FT Island’s Hongki

Hongki, the charismatic lead singer of the Korean pop rock band FT Island, embodies what we regularly associate with the word “rockstar.” Onstage and through his TV appearances, Hongki always displays his I-don’t-give-a-damn persona, whether he’s being snarky with his remarks or challenging FNC Entertainment’s CEO publicly. Hongki takes his strong personality everywhere he goes and doesn’t only do it for show.

But the thing that’s most “punk rock” about the singer is probably his love for nail art. Hongki wouldn’t be the first rockstar to don nail polish to compliment his style, but he definitely is unique in that he released a book completely dedicated to nail art called Lee Hong Gi Nail Book. The 144-page long book includes the singer’s stories and insight on nail art and is a best seller in Korea, Japan, and China.

Over the years, men have pushed through the taboos and social awkwardness of getting manicures and pedicures, and it’s no longer a rarity to see a man at a salon getting these procedures. But to rock full-on designs and flashy colors? That’s not what many heterosexual men would willingly do. Nail polish has always been marketed for women, and with that, branded as a feminine product. The fact that Hongki got past his and other people’s prejudices to the level of rocking and spending $45,000 a year on nail art is commendable.

Nail art doesn’t take away anything from Hongki’s personality or look, it merely enhances it. After all, it’s just paint and design on nails.

2. G-Dragon

Rappers and fashion have come hand-in-hand since the ‘90s, when artist began flexin’ their designer clothes and jewelry in music videos and lyrics. However, no rapper has ever reached fashion icon status and respect from the fashion world like G-Dragon has. A man liking clothes and shoes and accessories has been periodically accepted over the years, but a love and fascination for it is almost exclusive to women and gay men.

This is where G-Dragon makes his mark. He’s a rapper, a producer, and a lyricist, and is respected as an artist in the entertainment business. The fact that his artistry translates over to his amazing range in his fashion styling does not detract from his musical talents or his “manhood.” With his fashion, the BIGBANG leader is a chameleon; he goes from avant garde to streetwear in a second and kills it every time. His style is always changing and evolving with time and trends, and he has never shied away from pushing gender boundaries with his fashion. A good example of this is last year’s Vogue Korea editorial, where he posed with model Soo Joo, both of them styled identically to look like twins.

Androgyny is not a look that has been on the mainstream and widely accepted, it is mostly reserved for the arts. But G-Dragon, with his small built and extraordinary fashion, has been making a case for bending gender since his debut. Can anyone logically make a good argument against a man wearing a skirt? Well, G-Dragon can make a good one for it.

3. NU’EST’s Ren

Even before debut, Ren made headlines for his appearance. Not because he had ulzzang status or beast idol features, but because he was pretty. No, not handsome, pretty. You know, that term society uses to describe girls exclusively and is somehow demeaning to tag boys with that…

NU’EST’s maknae personifies the group’s concept: being different and unique and not being afraid to show it. Ren contrasts his pretty boy image and charms with powerful performances. With this, he challenges society’s notions of masculinity and femininity by living somewhere in between them under his own terms; he even calls himself pretty.

Just like androgyny, a man having feminine traits does not make him any less of a man. Ren promotes a healthy lifestyle that works well for him. And if anyone thinks that someone’s “manliness” is challenged by a guy listening to Lady Gaga or knowing all of the girl groups’ choreography and can deliver them spot on, is only unsure of their own identity.

4. 2AM’s Jo Kwon

2AM’s Jo Kwon has made a name for himself for various reasons, but most of it comes from his innate talent. The singer prides himself in having been a JYP Entertainment trainee for seven years before debuting and is a member of that agency’s ballad male group. Standing on stage wearing a suit and serenading the audience with his powerful vocals, Jo Kwon is a completely different person than what he showcases on TV: the male diva.

Viewers witness Jo Kwon’s flamboyant personality when he fiercely dances girl group choreographies on variety shows or when he wore Jeffrey Campbell’s heel-less hoof shoes during his solo promotions. Furthermore, he recently took part in the Korean adaptation of the musical Priscilla, playing the dual roles of Adam and Felicia.

Because of this, the singer gets called gay left and right. Everyone has an unsolicited opinion on his sexuality, but the reality lies in that Jo Kwon has repeatedly denied those allegations. That being said, the public must respect his stance. And, of course, the reality we live in is not that simple. The singer garnered lots of criticism and hate over his participation in Priscilla, leading him defend himself on Instagram, when he obviously didn’t need to do so.

The fact that a straight man undertakes what society perceives as effeminate traits and behaviours and displays them for the mainstream audience shows how forward thinking some youth are. What Jo Kwon does is good entertainment and is well-received by the public; his sexuality is irrelevant. Even if he’s not gay himself, he’s paving the way for future queer celebrities to be accepted.

Who’s your favorite male idol who defies gender roles? We’d love for you to share your picks with us, and don’t forget to follow us on Facebook, Twitter, Instagram, and Tumblr, so you can keep up with all our posts.

CL joins a line of K-Pop idols who have decided to enter the American music market, but the history of idols in the United States isn’t something that the 2NE1 leader will want to necessary emulate. The most talked about idols to have attempted to enter the American market to date are Rain, BoA, Se7en, Girls’ Generation, SPICA, and The Wonder Girls. Their efforts have done much for Korean music in the US, but the popularity that Korean idols find in many countries didn’t transfer over, and no Korean idols became superstars in Hollywood.

K-Pop made national headlines with the explosion of Psy’s Gangnam Style, the success of which Psy himself admits was a complete accident. In comparison, the other attempts to break into the US were hardly accidents, and were met with varying levels of success.

Rain

In one of the more bizarre debuts into the American entertainment industry, Rain gained national attention after beating out Stephen Colbert for the number one spot on a reader-ranked Time 100 Poll in 2007. Rain had already appeared on Time’s 2006 World 100 Most Influential People list following his immense popularity in Asia, and on CNN’s TalkAsia in 2005. But Stephen Colbert took Rain’s win personally, and his Comedy Central audience soon learned a little bit about Rain.

Rain continued being ranked on Times’ lists for the next few years, and had a short guest appearance on the Colbert Report where the two had a dance off.

Even though he gained fame in Asia first as a singer before becoming an actor, Rain made his formal debut in the U.S. as an actor, taking roles in Speed Racer in 2008 and Ninja Assassin in 2009. He even won MTV’s Biggest Badass Award for his role in the latter film.

Rain stopped all of his American activities due to military service, but appeared in August 2014’s The Prince with Bruce Willis and John Cusack. The film was poorly received and Rain has yet to announce future plans to act in the United States. However, following Lee Byung Hyun, Rain is one of Korea’s most impressive action exports to Hollywood.

Success Rate: 80% — He’s still active, and if he lands the right role, Rain could do really well in Hollywood as an action star.

BoA

BoA and Rain are best of the top solo idols that Korea has seen, both known for their singing and dancing, and both headed to the United States. BoA tried entering the American market through an album release in 2008, with the English language album BoA. The album included singles Eat You Up, Energetic, and I Did It For Love, as well as Look Who’s Talking, which was originally partially written and recorded by Britney Spears but never publicly released. The album and songs appeared on Billboard charts in the United states, as well as several foreign charts.

BoA performed at MTV Studios in Times Square and appeared at the 2008 Jingle Ball. She also performed at the 2009 San Francisco Pride Festival, where Solange Knowles also performed. The singer also starred in the movie Make Your Move, alongside Dancing With The Stars’ Derek Hough. The movie was released in 2014, after several years in post production. BoA hasn’t really pursued the American industry in some time, instead choosing to focus on Korea and Japan.

Success Rate: 40% — BoA’s songs are as great as any of her Korean ones, but they didn’t gain the attention that they deserve. Make Your Move was not very well received.

The Wonder Girls

Perhaps the most daring, The Wonder Girls devoted themselves to an American debut. The girl group had reached success with addictive hits like Tell Me and Nobody, and JYP Entertainment decided that the five member group would do well in the U.S. The members released some of their songs in English and went on tour with The Jonas Brothers in 2009, acting as the opening act. The Wonder Girls became the first Korean group to have a song on the Billboard Hot 100 Chart when the English version of Nobody entered.

However, Sunmi left the group in the middle of American promotions, and Hyelim replaced her. The Wonder Girls then returned to Korea and released 2 Different Tears in English, Korean, and Chinese. The group then went back to the United States and had several concerts. After some more Asian activities, The Wonder Girls returned to the United States with The DJ Is Mine, and appeared in Teen Nick made-for-tv movie, The Wonder Girls. After releasing Like This in Korea and making a Japanese debut, The Wonder Girls returned to the U.S. in July 2012 with Like Money, featuring Akon. Despite the efforts, Like Money didn’t reach success in the US.

Success Rate: 60% — The Wonder Girls tried really hard, but broken up international activities meant that the group didn’t spend enough time in Korea, the U.S., Japan, or China. World domination would be nice, but The Wonder Girls overextended themselves and hurt their chances in both North America and Asia. the group released some great songs and did some amazing things, so it’s really unfortunate that they didn’t reach American fame.

Se7en

In 2007, Se7en announced that he would be heading into the U.S. market. However, after a collaboration with Fabolous, This Is My Year, was leaked, Se7en’s American debut showed signs of problems, even though Verizon Wireless helped sponsor some of his events. The singer held a showcase in New York City and released Girls feat. Lil’ Kim. The song charted on Billboard‘s World Chart, and the music video aired on BET on June 2nd, 2009.

Success Rate: 30% –He’s the first one to really have tested out the waters of what it would be like for an idol to try making it as a singer in the US, but his test didn’t turn out so well. Se7en gained a major company’s sponsorship, but after the song leak and Girls failed, he returned to Korea and went back to making music that is more suited for him. It’s likely that Se7en decided to cut his losses and head back to Asia.

Girls’ Generation

With two Korean-American members (now only one, after the departure of Jessica from the group), one of the most popular girl groups in South Korea and Asia couldn’t resist the temptation of the United States and Hollywood. Girls’ Generation signed with Universal Music Group in the U.S. in 2011, and the group promoted The Boys there the following year. Girls’ Generation became the first Korean group to appear on Late Night With David Letterman and Live! With Kelly.

Success Rate: 60% — Just like the Wonder Girls, Girls’ Generation gained a lot of hype, but the songs aren’t gaining traction outside of the K-Pop community. With Jessica’s removal from the group, they’re down an English-speaking member, making it less likely that they will attempt further major promotions in the U.S.

SPICA

The latest girl group to try it out in the United States is SPICA. SPICA released the power, inspiring song I Did It in 2014 and debuted it at KCON the same month. SPICA also performed on a local Los Angeles morning show, Good Morning LA, and held a showcase performance, which Kultscene covered. The group then went back to Korea and it is unclear whether SPICA will return stateside.

Success Rate: 0-100% — SPICA has the sound and style that could make it big in the United States, but if the group doesn’t come back, then I Did It will still be a great song, but nothing more. It’s too early to really say whether the group is a success, but I Did It is possibly the best attempt of a K-Pop group to sing a song in English.

CL is trying her hand at it next, and its unclear as to how she’ll compare to the other idols who have attempted to break into the U.S. market. The odds don’t appear to be in her favor, but another imported female rapper — Iggy Azalea- is one of the most popular rappers in the world right now, so what’s to stop CL from seeking success?

How do you think CL will fare in the U.S.? Should any of these idols give America another whirl? What other idols would you like to see try their hand in Hollywood?

In 2009, MBLAQ and Beast both debuted. MBLAQ was the clear winner –it was the group that Rain had put together; his pet project. Beast, on the other hand, was a group of “rejects” from JYP and YG and failed solo acts.

Fast forward to 2014 and the tables are completely turned. With the announcement that Lee Joon is likely leaving the group, rumors that Thunder (Cheondung) will also not renew his contract with J. Tune Camp, and Beast’s highly anticipated comeback, it’s clear to all that Beast ended up on top. Does that mean that MBLAQ has failed as idols? Perhaps so, but perhaps not also.

What Went Wrong With MBLAQ?

Many things, and nothing. The group has had popular songs, but won few awards. Only Y and This Is War won awards on music shows, while those two and Mona Lisa are the only songs by the quintet to ever be nominated for MAMA awards. Moreover, not a single MBLAQ song achieved number one on Korean charts, although multiple of their albums did gain that distinction.

Lee Joon, Thunder, and G.O have gained recognition for acting, and G.O has gained a lot of attention for his vocal and producing skills. Mir has also become renowned for his rapping skills. MBLAQ members are popular on variety shows and have featured on numerous songs. But as idols, not a single member of the group or a song has made a huge impact. People know the members’ names, but the group has never hit the top tier of idols.

Source: Tumblr via Leyez

In a world where catchy dance songs are king, MBLAQ’s R&B style hasn’t led to major success. Not a single one of MBLAQ’s Korean songs ever placed above fifth on Korean or international music charts. Several Korean songs charted at number two on the Japanese Oricon chart (Your Luv and Baby U), but otherwise, MBLAQ’s songs have never had that “hit” factor.

MBLAQ is well-known, and many people think that means that the group is successful. But a boy band that doesn’t gain recognition for its music is not necessarily ideal or something worth continuing. Lee Joon and Thunder’s desire not to renew their term with the group may be a result of the overall failure of MBLAQ as a musical act.

Who Is To Blame? Management?

The group is a very clear case of not having one single entity organizing it. MBLAQ did pretty well before Rain entered the army at the end of 2011. Rain’s popularity had been transferred to MBLAQ since debut, and the five members are artistically talented enough to stand on their own feet. But there was always the fact that the group was the five-member version of Rain, with his style influencing the group.

Rain hasn’t touched the band since entering the army; when he came back, Rain went to Cube Entertainment. J. Tune Camp has managed every MBLAQ activity since the end of 2011. Rain’s name is still attached to the group, but his magic touch is gone.

Source: OnePackAB

Furthermore, J. Tune Camp’s parent company, J. Tune Entertainment, merged with JYP in 2009. But J. Tune Camp was left alone, showing that there are some issues with internal management at the company. Without the backing of a stable company, the guys had a lot of activities, but never really focused on being singers. Promotions as MBLAQ have come in spurts, with individual members focusing more on their individual promotions than as members of an idol group.

Five years is a good amount of time to test the waters before some of the members decided that a “career change” may be a better option, and that looks like where we are right now.

Or Maybe We Should Blame The Timing?

With more and more new idol groups every day, the group didn’t really stand a chance. At the time of debut, MBLAQ was heralded as a manly, powerful group that would be well-received in a crowd of girl groups (2009 saw the popular debuts of 2NE1, f(x), Secret, After School, T-ara, and 4Minute, and the super success of Girls’ Generation, Kara, and Wonder Girls). It was the second coming of Rain, and the only prominent rival was Beast, the “reject” group.

But then K-Pop exploded in 2010 with boy groups. INFINITE, Teen Top, DMTN, Led Apple, JYJ, ZE:A, F.CUZ, CNBLUE, and The Boss. By 2011, rookie groups began popping up left and right, male and female, making older idol groups passé.

Or, Maybe, Nothing?

MBLAQ was supposed to be the next “nation’s idol.” However, the group never had a hit song, because of constant comebacks and the debuts of the next-big-thing. The members are talented, as a group and on their own and they’re well recognized. Their songs have done well, but MBLAQ as a whole hasn’t. There’s no one real reason –company, members, timing, chance –that made MBLAQ an idol group without a single number one hit.

But the members have been going for five years, waiting for that one hit, and it hasn’t happened. Fans are reeling from scandals, but perhaps it is time to accept that K-Pop groups do not last forever. Accepting that is key, and sometimes idols need to transition from idol-dom to celebrity-ship.

Source: Lembas via ABM

MBLAQ and its members are many things –talented, funny, handsome, etc. But they are not one thing: Korea’s top idol group. After five years, it is time for both the group and its fans to recognize that, and MBLAQ’s potential disbandment (or continuing on as a trio/quartet, depending on different rumors) should be applauded.

Idol groups always end; even long-lived groups like Big Bang, Super Junior, and Girls’ Generation won’t last forever. If MBLAQ isn’t as successful as it could be, isn’t it better for the members to realize that now, before they are too old to regret being a second tier idol group? It’s been fun, but maybe it’s a time for a change.

This isn’t the first time that it’s being said, but 2014 was not the best year for SM Entertainment. Kris leaving EXO, Sulli going on hiatus from f(x), and Jessica’s removal from Girls’ Generation are not exactly signs of a stellar company. And now there are rumors, mostly among international fans, that EXO’s Luhan will be leaving the group due to poor health, which isn’t good. Not that Luhan shouldn’t take care of his health, but the rumors themselves, and if they were to come true, are not good.

Why Are The Rumors Bad?

It shows panic among SM Entertainment’s audience. Other SM Entertainment idols have been sick in the past and have taken extended leave. SHINee’s Onew only recently rejoined activities after surgery, but there weren’t wide-spread rumors about him leaving the group. However, following the news that Girls’ Generation, one of the most seemingly-stable groups in K-Pop, is removing a member, SM Entertainment fans show that they no longer know what is what at the company.If fans cannot show full support for SM Entertainment, it is likely that SM will act even more recklessly than it has recently.

Following a downward spiral of f(x)’s Red Light promotions being overshadowed by Sulli’s dating and hiatus scandal, SM announced a new girl group, Red Velvet. Unlike the highly hyped debut of EXO, Red Velvet released its first song with little prior-fanfare, and a relatively sloppy, problem-plagued debut.

In regards to Girls’ Generation’s disaster, SM is continuing as usual with TaeTiSeo and individual promotions. But everything that the Girls’ do and every word they say is under strict scrutiny, and the company is likely to announce a comeback of one of its other groups to try and get attention off of the remaining eight Girls’ Generation members.

SM Entertainment is often perceived to be the “worst” company of “the Big 3” Korean entertainment companies (SM, YG Entertainment, and JYP Entertainment), due to its history with contract scandals and idols leaving the company. The company needs intense PR, but sudden member losses has become almost expected; EXO fans are practically counting down the days until another member announces that he is leaving, and Luhan appears the likely choice, due to his health issues.

The rumors are bad because it shows a complete lack of faith by fans in SM to manage its artists. SM fans need to support not only their favorite artists but the company, because the Korean entertainment industry is currently a company-dominated one. But right now, SM is in crisis mode and lack of support is making the company struggle anymore.

via baekhyunniesbeagle

What If Luhan Actually Leaves?

If Luhan leaving EXO becomes reality, not just a rumor, SM Entertainment will find itself in serious trouble. Luhan is one of EXO’s three remaining Chinese members, and by far the most popular one. Luhan is so popular that he earned a Guinness Award for on Weibo- over 13 million comments on his account, double the amount of the next runner up. If Luhan’s health issues require that he, unfortunately, leaves the group, it would mean that SM’s EXO experiment has failed.

EXO has already failed in some ways, when the group became EXO rather than EXO-K and EXO-M. Fans wanted all twelve members together, but it meant that the split marketing campaigns were a failure, and fans wanted one, traditional K-Pop act.

Luhan’s absence would mean that only two Chinese members of EXO remain, Lay and Tao. Both, as all members of EXO, are immensely popular, but former member Kris and Luhan have definitely been the two most popular members of the EXO-M contingency. If Luhan leaves, EXO’s Chinese fanbase will reel and accusations of unfairness towards Chinese members will fly.

Remember, initial reports of Kris’ withdrawal blamed his health. Luhan’s poor health condition has already been acknowledged by SM Entertainment, so the rumors are understandable. Hopefully, they will just be rumors and Luhan will get the rest that he needs.

via allaroundasia

EXO needs no more problems, and SM Entertainment needs no more headaches. Hopefully these rumors will be pointless, but if Luhan, or any Chinese member leaves, EXO is in trouble.

Are you worried about EXO and Luhan? How do you feel about the recent SM Entertainment scandals? Be sure to share it and follow us on Facebook, Twitter, Instagram,Tumblr, and Bloglovin’ so you can keep up with all our posts.

Let me tell you something before getting into anything else: We’ve been here before and we can get through it. But can Girls’ Generation?

A member leaving one of the biggest idol groups in K-Pop? Fans going crazy? Support the member’s decision? Protest their selfishness? Is the company lying? Who is telling the truth? Are the members upset? What’s going on??

First off, K-Pop is a business. Both fans and idols delude themselves into believing the lies of the industry, but, at the end of the day, idols are employees of companies. And, if an employee has a disagreement with a company about what sort of work he or should be doing, they often leave or asked to leave the company.

Girls’ Generation’s Jessica is currently embroiled in just that situation. Fans might be angry, hurt, upset, confused, and any other synonym for “what the eff?” But Jessica clearly started a fashion brand, Blanc, and SM Entertainment reacted in a certain way. Jessica released her own statement saying that the other members decided to force her out of the group, but that surely wasn’t an easy decision to make– the members were in tears at their latest performance. As outside observers, we may never know the entire truth from both sides.

So what does this mean? It means that Girls’ Generation’s tightly wound image is starting to break apart. Does that mean that it will completely unravel? Maybe yes, maybe no.

There are three paths for a group when a member leaves: continuing on without them, replacing them, or falling apart. SM Entertainment tends to opt out of replacing members, and isn’t a company that just lets it groups disappear when there are still viable members. TVXQ, Super Junior, and The TRAX all showed that SM’s management style is to keep going ahead with what it has rather than trying to do something new.

Girls’ Generation (and this applies to f(x) as well but that is for another discussion,) is likely to keep promoting as a girl group with eight members, as SM Entertainment has already said. However, unlike TVXQ, Super Junior, and The TRAX, where members left the group to pursue their own careers willingly, Jessica’s situation is different. From her point of view, Jessica was kicked out by the other members because her personal desires didn’t fit in with the group’s, which may show the fragile ties keeping Girls’ Generation together.

The lifespan of girl groups are much shorter than male idol groups. Looking at all of the first generation groups that are making a comeback –SHINHWA, g.o.d, Fly To The Sky –they’re all males. Girl groups by definition are meant to be youthful- girls, not women. Girls’ Generation’s name has come under fire for several years now, as the members of the girl group got older. The group’s concept has also not changed so much, varying from cute to sexy but still maintaining the image of youthful, spunky young ladies. Soshi’s songs have shown change and maturity, but as a whole, the group hasn’t quite morphed from girls into adults.

Jessica’s departure highlights the problem, because it is all happening due to her desire to have a more serious, adult, career and personal life. The other mature groups at SM (TVXQ, Super Junior, The TRAX) all have members who do something other than their activities as group members. Girls’ Generation has a few members who have done so (YoonA and Sooyoung act, Sunny DJs, Taeyeon and Seohyun sing solo songs, etc.), but none of them really are able to stand on their own two feet as anything other than a Girls’ Generation member doing some other activity.

A member leaving doesn’t mean a death sentence for a group, even one as cohesive as Girls’ Generation. But it could hint to the fact that Girls’ Generation’s concept is unstable, and unless SM Entertainment reconsiders the fact that the members are women and not girls, more members are going to search for more fulfilling, more problematic “secondary” activities. If SM doesn’t want to lose its most prominent girl group, it had better think fast.

What do you think? Is Girls’ Generation’s future at stake? Is Jessica in the wrong? We’d love to hear you thoughts on the subject, and don’t forget to follow us on Facebook, Twitter, Instagram, Tumblr, and Bloglovin’ so you can keep up with all our posts.

Lee Hoo went up against the Korean entertainment establishment and came out on top. Then he continued, and now there is some concern that maybe he’s gone too far too fast.

This week saw ZE:A’s leader Moon Junyoung, known by his stage name Lee Hoo, go up against his company, Star Empire, on Twitter and win. The initial response to his outburst was a positive one, to see an idol attacking injustices. But then Lee Hoo continued after seeing the conclusion of what he was seeking; now it’s unclear whether he is overstepping his boundaries and should be happy with the gains that he has made, rather than risk making everything worse.

After increasingly difficult situations within Star Empire Entertainment, including little-to-no pay, unfair management, and physical abuse, Lee Hoo threatened the company’s CEO on Twitter. He promised to release incriminating documents, proving the company’s corruption, and also mentioned that he may reveal information about other entertainment companies.

Lee Hoo also called for other entertainment companies to reevaluate their terms, and asked journalists and fans to help him. Plus, he revealed that the Dream Team production team had treated him poorly after breaking a bone on set, using a single example, but implying that Korean PDs are also harsh on idols.

And after several outbursts of anger on Twitter, Lee Hoo stated that he had met with Star Empire’s CEO to reconcile and reconsider ZE:A’s contract terms. After, Lee Hoo wrote that ZE:A’s terms would be reversed from how it had been before, so that the idols would earn 70 percent of the profits and the company 30 percent, rather than vice-versa.

That seemed to be the end of it, but only a few hours later, Lee Hoo returned to Twitter saying that if fans clamored enough, he would reveal more evils of the Korean entertainment industry if netizens asked him to. It seems likely that Lee Hoo will keep his crusade going, if fans support him.

However, is there such a thing as too much in this case?

The Korean entertainment industry is extremely hierarchical, and Lee Hoo took to social media like so many other modern-day revolutionaries to reveal the truth of a horrendous situation. He acted very brave, but also slightly careless; the CEO, who he named, could have sued him for libel, cut his contract, and it could have had a downward spiral that affected all of the members of ZE:A (no other ZE:A members have spoken up about the situation, so it is unclear whether they were aware of what Lee Hoo was going to do).

Luckily, things worked out well, and Lee Hoo was able to make many gains for ZE:A. Netizens also supported the idol’s actions instead of turning on him. There is some criticism that he called out the CEO publicly, but Lee Hoo addressed the fact in his tweets, saying that the situation had gotten so far out of hand. Many netizens posted messages of support for Lee Hoo.

But should Lee Hoo stop before he hurts himself and the group? He already pushed the envelope a lot; he took to Twitter in a vehement way that hasn’t been seen from any K-Pop idol previously. Even the most outspoken idols have not truly gone head-to-head with their CEO, airing all of their despicable issues. Instead, most idols leave their companies and sue. And none of them have said that they will release more incriminating documents in the future about other entertainment companies or production companies.

Lee Hoo is risking the entire entertainment industry’s wrath, rather than just upsetting his own company. After getting so much for ZE:A, Lee Hoo obviously is feeling very successful. Hopefully, the company will work with ZE:A for the better, and all of this will work out.

But if netizens ask Lee Hoo for too much, he may turn the entire industry against him and ZE:A. ZE:A debuted in in 2010. In the past four years, the nine members have achieved limited fame, with several members becoming incredibly popular while the others live in relative obscurity. ZE:A’s songs have gained attention, but the group has never become a leader of Hallyu, or even won an award on a music show. Complete apathy from fans, who were happy with ZE:A being second tier idols, and from ZE:A’s company have hindered the group.

Now that ZE:A is at a crossroads, as the leader Lee Hoo has some important decisions to make. He has fought well, but it seems that the whole thing is still very tenuous.

What do you think? Is Lee Hoo at risk of losing everything he’s gained? Leave your thoughts in the comment section below and be sure to subscribe to the site and follow us on Facebook, Twitter, Instagram, Tumblr, and Bloglovin’ so you can keep up with all our posts.

The latest netizen outrage out of the K-Pop world surrounds rapper Swings’ perceived insensitivity for posting a video recreating an execution just for fun. The internet critics say it is reminiscent of the recent executions of American journalists by the terrorist group ISIS, and that the timing is disrespectful towards Ladies’ Code’s tragic accident. Netizens have a reputation of blowing things out of proportion, and this is not an exemption. Was the video in poor taste? Yes. Should Swings be scrutinized for it? Probably not if you condone and/or disregard murder and guns in music videos by your favorite artists. The truth is, the whole incident and the exaggeration of it is one big double standard for K-Pop fans.

In the controversial video in question, Just Music rappers C Jamm and Swings kneel at the edge of a swimming pool while Giriboy stands over them and mimics pulling gunshots to their heads, making C Jamm and Swings fall into the pool, and floating face down as if dead. Netizens claim that the execution-like prank is similar to those actually carried out by ISIS recently and done too soon since people are still mourning RiSe and EunB’s deaths. Had this video happened at another time where it couldn’t be contrasted with these two events, netizens probably wouldn’t have said a thing. But alas, it did.

So following these netizens’ logic, executions, guns, and murder are tasteless, and for doing that, those involved are apathetic, immature, and —what was that other thing they were spouting on the comments? –oh yeah, psychotic. And while the term psycho was probably just thrown in there for emphasis, the only true demented thing behind this ordeal is the undeniable double standard most of these netizens have.

Again, following the logic, murder and guns are not acceptable only in cases following a tragic episode in the world’s history. But if murder and guns are not making headlines worldwide, then, by all means, it’s fair game. Because acting out murder and executions are only distasteful if a major incident happened recently, right? Kind of like when Infinite took out the plane crash scene in their Destiny music video because it was too soon to the Asiana Airlines crash. If that version would’ve been released a month prior, it would have been totally fine, right? But I digress… Netizens nitpick which idol and situation they blow out of proportion, since violence has never stopped in the world… ever (just now, think Syria or Gaza)…

Adding insult to injury, another problem here is the normalization and glamorization of murder and guns in pop culture. Opposite to the United States, Korean civilians can’t bare arms. It’s a common thing in American culture and music to hype up firearms and feature them in videos as if they were one more accessory on set. In Korean music videos, the use of guns generally follows spy or gangster plotlines. But then we have the was that really necessary? instances. No one linked BTS’ No More Dream choreography when Suga symbolically blows V’s brains out to any school shootings anywhere, even if the song is about not wanting to follow the path your parents set up for you and the setting is, well, in a school.

However, at least BTS was playing the typical teenager who hates life and their parents in their music video. 2NE1 with their video for I Am the Best, on the other hand, is one big question mark. These ladies are synonymous with fierceness within K-Pop, and the song is about being better than everyone else and no one measuring up to you. Apparently, being the best equates power which, it seems, also equates guns. What exactly was the purpose of this scene? Nothing. Just everyday glamorization of guns in a country where they could not have done that outside the set.

Was there any outrage? No, because this is normal for everyone and is also seen as cool…

But the double standard goes beyond just netizens and reaches the heads of television companies. Entertainment companies bend over backwards to accommodate the guidelines set by the TV companies so their artists can promote on their music shows. The raunchier songs on a given album are generally pushed to the b-sides, never being singles so the same TV companies won’t ban them. But you know what the crazy thing about this is? Companies that are so invested in protecting youth from seeing U-Kiss have implied threesomes or Trouble Maker grind on each other are ok with them seeing murder.

B.A.P doesn’t just wave guns in the air for their One Shot music video, it actually follows the gangster plotline. However, there’s a scene where we actually see thugs shoot and kill Youngjae. There’s blood everywhere, there are guns being used unsafely, you can see they guy’s face as he dies of gunshot –but no, that doesn’t corrupt a child’s mind like sex does… TV companies also didn’t ban One Shot or asked for the choreography involving a gunshot à la BTS be readjusted.

However, the point is not to ban these types of scenes and behaviors, for censorship is never the answer. The point is for netizens to stop nitpicking particular incidents and judging them under extraneous standards if you’re not going to do so with e-very-thing out there. Remember, separate is not equal. Swings’ video was indeed unnecessary, but it didn’t deserve the outrage it got from people who would probably have let it slide if done by bigger artists.